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1

I think what you're looking for is an instrument with an unintuitive, or non-obvious, fingering, where, at least in the early stages, it's impossible to play a scale on autopilot. If I understood right. I'm going to suggest the recorder. Take a look at this discussion of fingering systems for starters: ...


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I know this is an old thread, but I'd like to add something I think hasn't been mentioned much. In my younger days, I hated maple fingerboards purely out of looks. I just never was a fan of that bright looking fingerboard on guitars. I always have been a rock guy, blues and metal type music. So for me I always liked the looks of rosewood or ebony boards. I ...


3

The lowest notes will be the most sensitive to any air leaks in the instrument. Aside from possible damage to the joints between the three parts of the instrument, the most likely cause of leaks is not covering the finger holes fully. The lowest two holes are actually two small holes, so make sure you are covering both of them completely. The easiest way to ...


1

The hammered dulcimer has an odd layout. There are two bridges and three places relative to the bridges where you hit the strings. Yet another one is the Rackett. It's sort of a bassoon folded up several times. The finger holes end up where you can reach them all easily, but weirdly arranged.


2

My vote would be for Timpani. Thought buying a set might be prohibitive, I was lucky enough to be able to major in percussion and found learning to properly play a timpani console challenging and excellent for my ear. The challenge comes when you're playing something that requires rapid changes and/or slides to a note, or changes while playing another ...


0

Aulos is the go-to brand for many recorder players (and what I use). An alternative is Yamaha. Both make every size from sopranino to bass. And, at least for some sizes, there may be multiple models to choose from, depending on what features you're looking for -- higher-quality vs. cheaper price, fake woodgrain finish, a key on the tenor, a 'kink' in the ...


2

Here's how you read the model numbers for the last ten years first digit -> year The first digit tells you from which year the instument is. 2.. means 2005: CLP-220, CLP-230, CLP-240, CLP-270, CLP-280 3.. means 2007: CLP-320, CLP-330,... second digit -> quality/features The second digit tells you how high its quality is compared to the other models of ...


0

No, there is no general convention, or international standard, or anything remotely like that. Even manufacturers that publish charts of how their pieces compare to other brands don't always agree with others. The problem is, every maker seems to measure things in slightly different places. For example, cup size can be measured at the very first start of the ...


0

Different instruments have different timbres, due to the strengths and frequencies of the overtones being different. This causes harmonies to work differently with different instruments - sometimes a chord that can sound quite rough or discordant on one instrument can sound more harmonious on another. Having said that, most orchestral instruments, and the ...


0

I think you've got the answer and just need clarification. You could learn to play a convincing A by bending with more practice. You can even learn to bend on the blow notes. And there are also techniques called "overblow" and "overdraw" that give you a lot of range on one reed (or so I've read, I never got past blow bends). As easy as a harmonica is to ...


2

Start by drawing on hole 8 will give you the notes without bending. An octave higher than where you originally want, though. It can also be played on a G harp, starting on hole 6, with a blow. The trouble with the lower holes is there's no 6th note from the scale, so the 7th needs to be bent a whole tone. To make that A). This isn't easy to do exactly in ...


1

The answer above pretty much covers everything, but another good thing to watch for is the pattern of the wood. The wood on the back of a cello is usually made of maple, which is generally considered the best type of wood for stringed instruments' backs, sides, or sometimes necks. The highest quality maple wood will have lots of "flames". These are ...


0

I have seen glockenspielen played in marching bands (carried), but never any of the other instruments. Naturally, the marching band version of the glockenspiel is small (for portability).


3

Short answer: No. Long Answer: Could it happen in this universe? The laws of physics do not prevent marimba bars from existing on a vibraphone frame. But I find it highly unlikely that you would find a set of bars that would fit. For one thing marimba bars are thicker vertically than vibraphone bars. The holes would need to line up with where the string ...


-1

I only know that my Gibson Less Paul sounds like a Gibson Les Paul. Doesn't matter what I do. She's a Gibson Les Paul. Change strings? Change tailpiece height? Change bridge height. Still sounds like a Les Paul. Sounds like screaming smoke. My mid-'90s Cort Source with the kent Armstrong p-90 in the neck and the Gibson BurstBucker II in the bridge sounds ...


1

The answer is "yes", because virtually every part of an electric guitar affects the quality of the sound to some degree. Electric guitarists agree that the selection of woods in the body, neck and fingerboard make significant differences in timbre (the distinguishing characteristics of the tone and sound). (When we talk about the characteristics of the ...


1

The wood used in a electric guitar will add body to the pure vibrating string sound. My luthier once told me that the wood you use is like a landscape and the pickups are like windows through which you observe it. If the landscape has some beautiful sections, but your window can only let you see the ugly portions of it, you have a problem. The strings are ...


2

If we separate out the effects you could see, The body/neck wood could absorb energy from the strings, causing the sound to decay faster (and with preference for certain frequencies) The body/neck wood could then retransmit energy back into the strings, again possibly with preference for certain frequencies due to resonances in the wood The body/neck ...



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